Tag Archives: Remix Videos

On June 4 2015, the first batch of remixes for the single Bitch I’m Madonna were released:

Bitch I’m Madonna (Oscar G 305 Dub) 8:45

Bitch I’m Madonna (Oscar G Bitch Beats) 8:45

Bitch I’m Madonna (Rosabel’s Bitch Move Dub) 7:36

Bitch I’m Madonna (Sander Kleinenberg Club Mix) 5:00

Bitch I’m Madonna (Rosabel’s Bitch Move Mix) 7:06

Oscar G previously remixed Madonna’s cover of Fever back in 1993. Sander Kleinenberg was commissioned to produce remixes of Hollywood in 2003, although his mixes remained shelved until they surfaced on the internet in 2010. Clearly Madonna was more fond of Kleinenberg’s treatment of Bitch I’m Madonna, as it was featured in her first official remix video since leaving Warner Bros. Records.

On May 31 1986, Madonna’s Live To Tell hit #1 for 3 weeks on US Hot Adult Contemporary singles chart.

The haunting and dramatic ballad, written and produced by Madonna & Patrick Leonard, was the first commercially released collaboration between the pair – a songwriting partnership that is viewed by many fans as one of her most creatively successful.

Leonard had previously been involved with Madonna’s Virgin Tour as musical director, and when Madonna agreed to participate in Live Aid in the Summer of 1985, she asked him to collaborate on a new song for the performance, which evolved into Love Makes The World Go Round.

Although both songs would find their way on to Madonna’s next studio album, True Blue, at the time of Live To Tell’s release the album’s title had not yet been decided. Instead, the song was used to promote Sean Penn’s film At Close Range, in which it was featured alongside an original score composed by Leonard.

He had initially composed the music that evolved into Live To Tell for another film he had been invited to score for Paramount, titled Fire With Fire. The producers of the film passed on the theme. Leonard recalled the subsequent series of events that led to the song’s completion in The Billboard Book of Number One Hits by Random House:

“Madonna said ‘This song would be great for Sean’s new movie.’ She wrote the lyrics–she just wrote them on the spot, which is what we always do. I don’t think we’ve ever taken more than three hours to complete a song from start to finish. She sang it on the demo only once and left with the cassette. That day I went to work with Michael Jackson on some transcriptions for material he was writing for the Bad album. The phone rang at Michael’s and it was Sean. He said ‘I’m over at the director’s house and Madonna just brought the song over. We love it and we’d like to talk to you about it.’ … We recut the song, but we used the same vocal. She only sang it once for the demo and that was the vocal we used because it was so innocent and so shy. She had a legal pad in her hand and you can hear the paper. It’s as raw as raw can be and that’s part of what gave it all its charm.”

When the demo recording of Live To Tell eventually surfaced, it became evident that Madonna had in fact re-recorded the first verse, but all remaining vocals do indeed appear to have been carried over from the demo to the final mix (along with a generously added dose of reverb to smooth over the rough edges of the demo take).

Given the song’s dark undercurrents and unresolved narrative, it was a bold choice for a single release. It marked a dramatic shift from the yearning love song, Crazy For You – her only other ballad to have been issued as a single at the time. But any radio programmers who were hesitant to consider Madonna as a serious artist simply couldn’t deny the artistry of the song and nor could record buyers, with the combined support sending Live To Tell straight to the top of the pop charts.

Live To Tell was Madonna’s third #1 single on the Billboard Hot 100, and her #1 on the Adult Contemporary chart, where it would reign for three weeks.

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On May 21 2001, the U.S. leg of Madonna’s Drowned World Tour continued to sell out performances in the final seven markets that went on sale the previous weekend. A press release stated that the tour, promoted by SFX, promised to be the most extravagant stage spectacle of Madonna’s career thus far. The last batch of cities announced for the tour included sold-out dates in New York, New Jersey, Washington, Miami, Atlanta, Las Vegas and Los Angeles. It was also announced that due to overwhelming demand, an additional three shows in New York and two in Los Angeles had been added to the itinerary, with tickets to go on sale May 30th.

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On April 29, 1995, Bedtime Story peaked at #42 on the Billboard Hot 100 in the U.S.

Released as the follow-up to the longest-running U.S. #1 single of her career (Take A Bow), Madonna & Warner Bros. likely hoped that the momentum would carry over to the cutting-edge Björk penned title track. Despite a respectable reception in Europe (in the U.K. it performed better than Take A Bow) and significant buzz generated by its music video, Bedtime Story proved to be too unconventional for radio in North America, where it became her first fully promoted single to miss the Top 40 since Burning Up in 1983. It fared no better in Canada, peaking at #46 on May 1st, 1995.

The remixes for Bedtime Story, however, were a hit with North American D.J.’s and earned Madonna another #1 on Billboard’s Hot Dance/Club Play chart.

On April 20 1991, Rescue Me peaked at #3 on the UK Singles Chart after making its debut at #4 the previous week. It slid to #5 in its third week before falling out of the Top 10.

Rescue Me was the third single release from The Immaculate Collection in the UK, where it was issued in between re-releases of Crazy For You and Holiday.

Because the photo on international pressings of Rescue Me had already graced the cover of the Crazy For You reissue, Warner UK chose to market the single using an alternate shot taken from Jean-Baptiste Mondino’s June 1990 spread in Harper’s Bazaar. Ironically, the international Rescue Me cover photo was snapped on the set of the Mondino-directed music video for Justify My Love, although not by Mondino himself. It was instead photographed by another (future) Madonna music video director, Stephane Sednaoui.

On April 13 1995, Bedtime Story was released as a single in North America by Maverick/Sire as the third single from the album Bedtime Stories. The song was written by Björk, Nellee Hooper & Marius DeVries and was produced by Madonna & Nellee Hooper.

Bedtime Story was released in Europe in February but the release was delayed for several months in North America due to the prolonged chart reign of her previous single, Take A Bow.

The commercial maxi-single featured remixes by Junior Vasquez and Orbital. Additional promo-only remixes by Mark Picchiotti & Teri Bristol were also later serviced to clubs.

An official remix video was released to promote the Bedtime Story maxi-single. It was edited by Ed Steinberg – the director of Madonna’s very first music video for Everybody in 1982 – and was set to Junior’s Single Mix.